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2000s

In the 2000s, Gregory continued his exploration of line color and form. He began to work with casein paint on fine cotton and canvas. He was impressed with casein's rich, matte quality and he liked its higher level of health safety, compared with oil and acrylic paints.

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Provisional Title: GFH1

Size: 26" x 36"Medium: Casein and Crayon on Russian CottonDate: 2003

Provisional Title: GFH 05-03-07

Size: 38" x 31"Medium: Casein on canvasDate: 2007

Untitled

UnstretchedMedium: Casein on canvasDate: 2009

Title: Lady Macbeth

Size: 30.5” x 37.5” Medium: Casein on canvasDate: 05-28-08

Provisional Title: MZ 09-25-02

Size: 34” x 32”Medium: Casein and crayon on cotton canvas

Provisional Title: JSB 01-19-04

Size: 35” x 32”Medium: Casein and crayon on cotton canvas

Title: Brunnhilde III

Size: 30.5” x 38”Medium: Casein, oilstick on canvasDate: 04-06-08

Provisional Title: LH 07-12-07

Size: 32” x 36”Medium: Casein and crayon on cotton canvas

Title: Akimbo

Size: 37" x 30"Medium: Casein and crayon on canvasDate: 01-13-07

Title: Lady Macbeth II

Size: 28” x 31”Medium: Casein on canvasDate: 07-28-08

Provisional Title: GFH 2004

Size: 34” x 32”Medium: Casein and crayon on cotton canvas

Provisional Title: DV 040904

Size: 31” x 37”Medium: Casein and crayon on cotton canvasDate: 2004

Provisional Title: GFH II

Size: 36” x 32”Medium: Casein and crayon on cotton canvasDate: 2004

Painted Reliefs, 1999-2002 "Misnomer Series"

In 1999, Gregory continued his built work with a striking series of 12 painted reliefs called the MISNOMER series, which combine wooden, cord and metal 3-D elements with dramatically textured uses of color paint. All 12 are 32” x 48” x 1.75" with extrusions.

1990s

In the 1990s, Gregory focused on developing methods for working with enamels, both on paper and on canvas. The work varies across a wide spectrum of sizes, from note book sized work on paper to canvased up to 8' x 10'.

An ingenious experimenter, Gregory used of quick-drying oil enamels (largely black and white), combined with an alkyd resin. Commenting later on his enamel work, he explained “I…found that the brush was not direct enough for me. I couldn’t get the immediacy of line that I was looking for.”

To fix that, he developed a pressure-pouring method of applying paint from a rolling bridge seat that moved horizontally across big canvases laid flat. This allowed him “to maintain, and vary, a stream of enamel. I always make a complete work each time, with no changes. If I reject the attempt, the canvas is painted over and used again for a later work. As a result, there are linear, relief-like shapes underneath the final layer of enamel in many of my paintings.”

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Title: Dutchess

Size: 16” x 20”Medium: Enamel on paperDate: 1991

Untitled

Medium: Enamel on CanvasSize: 36" x 48"Date: 1993

Untitled

Size: 18" x 24"Medium: Enamel on Arches PaperDate: 1991

Title: Calantha

Size: 36” x 48”Medium: Oils on canvasDate: 1994

Title: Nitocris

Size: 36" x 48" Medium: Enamel on Linen CanvasDate: 1989

Untitled

Size: 23" x 30"Medium: Enamel on paperDate: 1993

Title: Asteria

Size: 42” x 56” Medium: Enamel on canvasDate: 1989

Bianca

Size: 48" x 68"Medium: Oils on Linen CanvasYear: 1994

Untitled

Size: 22" x 30"Medium: Enamel on PaperDate: 1991

Title: Aurelia

Size: 63” x 66”Medium: Oils on Linen CanvasDate: 1989

1980s

In the 1980s, Gregory pushed his exploration of dimensionality of line in his work to include sand. Here he mixed sand with paint and developed a special spray system to force the heavy material across sometimes very large canvases (up to 8' x 10'). He worked by positioning the canvas horizontally and placing the nautical line, or rubber line as desired. He sprayed the paint at a very low trajectory as he rolled across and above the canvas. Thus he built up areas of paint against the 3-d line in varying thicknesses, creating a variety of effects with color and form.

1970s

In the 1970's Gregory continued his abstract work focused on large works in acrylic sprayed across canvas, incorporating line. In the mid- and late-1970s, he developed new styles in collage, always incorporating line, and what he called "wide brushstroke paintings."

Continuing his exploration of possibilities in 3-D abstraction, Gregory created a series of found-wood sculptures. Many of these sculptures included moveable parts, offering "changeable" art requiring the participation of the viewer.

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1960s

By the early 1960s, Gregory had fully developed his signature style of drawing and painting that expressed the interior and exterior of a figure by means of line, without reliance on the edges of form. The result was a curvilinear “abstraction” with little discernable reference to its origin, but energized by the connection to that source. By the mid 1960s and thereafter, his work focused on full abstraction.

In the mid 60s Gregory was building large "changeable" sculptural pieces that invited viewers’ participation.

1950s

In the 1950s, Gregory moved from gouaches and representational drawings to a semi-abstract style. Subjects included: Peacetime US Army Life (Germany, 1954-55) Peasant Life in Sardinia - 1955-56 Jazz Musicians - 1957-59 Portraits of Jacqueline - 1954-59

Editorial Sculpture & Design

Along with his lifetime of studio work, Gregory had a prize-winning career as an editorial sculptor and graphic designer, including many busts of newsmakers published in Time, Look, Sports Illustrated, The Saturday Review andthe Playboy Jazz and Pop Hall of Fame (all photographed by Seymour Mednick).His work is in many private collections and several museums, including the Philadelphia Museum of Art and the National Portrait Gallery.